Norma Ariodante
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Nuovi Interpreti Per Don Giovanni
Nuovi interpreti per Don Giovanni Tre debutti di rango alla Scala nello spettacolo di Robert Carsen: Paavo Järvi sul podio e Thomas Hampson e Luca Pisaroni come Don Giovanni e Leporello al 6 maggio al 6 giugno torna sul pal- Harnoncourt definiva «il più grande dram- 6, 9, 12, 14, 17, 19, 28, 31 maggio; Dcoscenico della Scala Don Giovanni di maturgo della storia della musica». 3, 6* giugno 2017 Mozart, firmato da Robert Carsen per il 7 dicembre 2011. Sul podio Paavo Järvi. Wolfgang Amadeus Mozart LP: All’inizio ho ascoltato tutte le regi- Don Giovanni Thomas Hampson veste i panni dell’audace strazioni e non è stata una buona idea libertino; suo fido servitore è Luca Pisaroni. perché mi sono semplicemente sentito Direttore A loro abbiamo chiesto giudizio su uno dei inadeguato. Avendo poi interpretato Le- Paavo Järvi Regia massimi capolavori dell’intera letteratura porello un paio di volte credo di aver Robert Carsen operistica. identificato alcuni snodi centrali del per- Interpreti sonaggio che cerco di portare con me in Don Giovanni Thomas Hampson Goethe già nel 1797 considerava il Don tutte le produzioni. Il Commendatore Tomasz Konieczny Giovanni di Mozart una vetta insormon- Donna Anna Hanna-Elisabeth Müller tabile. Come ci si accosta a un’opera così Mozart e Da Ponte, per la stesura del- Don Ottavio Bernard Richter importante? l’opera, si rifanno a una tradizione bi- Donna Elvira Anett Fritsch Leporello Luca Pisaroni secolare che parte convenzionalmente Zerlina Giulia Semenzato PJ: Goethe aveva ragione! Quando studio da Tirso de Molina e che in modi e Masetto Mattia Olivieri la partitura mi sento in soggezione ma al tempi diversi declina uno dei miti fon- Produzione Teatro alla Scala contempo ritorno alla mia infanzia. -
01-11-2019 Porgy Eve.Indd
THE GERSHWINS’ porgy and bess By George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin conductor Opera in two acts David Robertson Saturday, January 11, 2020 production 7:30–10:50 PM James Robinson set designer New Production Michael Yeargan costume designer Catherine Zuber lighting designer The production of The Gershwins’ Porgy and Donald Holder Bess was made possible by a generous gift from projection designer Luke Halls The Sybil B. Harrington Endowment Fund and Douglas Dockery Thomas choreographer Camille A. Brown fight director David Leong general manager Peter Gelb Co-production of the Metropolitan Opera; jeanette lerman-neubauer Dutch National Opera, Amsterdam; and music director Yannick Nézet-Séguin English National Opera 2019–20 SEASON The 63rd Metropolitan Opera performance of THE GERSHWINS’ porgy and bess conductor David Robertson in order of vocal appearance cl ar a a detective Janai Brugger Grant Neale mingo lily Errin Duane Brooks Tichina Vaughn* sportin’ life a policeman Frederick Ballentine Bobby Mittelstadt jake an undertaker Donovan Singletary* Damien Geter serena annie Latonia Moore Chanáe Curtis robbins “l aw yer” fr a zier Chauncey Packer Arthur Woodley jim nel son Norman Garrett Jonathan Tuzo peter str awberry woman Jamez McCorkle Aundi Marie Moore maria cr ab man Denyce Graves Chauncey Packer porgy a coroner Kevin Short Michael Lewis crown scipio Alfred Walker* Neo Randall bess Angel Blue Saturday, January 11, 2020, 7:30–10:50PM The worldwide copyrights in the works of George Gershwin and Ira Gershwin for this presentation are licensed by the Gershwin family. GERSHWIN is a registered trademark of Gershwin Enterprises. Porgy and Bess is a registered trademark of Porgy and Bess Enterprises. -
DIE LIEBE DER DANAE July 29 – August 7, 2011
DIE LIEBE DER DANAE July 29 – August 7, 2011 the richard b. fisher center for the performing arts at bard college About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space; and in the 220-seat Theater Two, which features a flexible seating configuration. The Center is home to Bard College’s Theater and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, operetta, film, and cabaret; and the Bard Music Festival, which celebrates its 22nd year in August, with “Sibelius and His World.” The Center bears the name of the late Richard B. Fisher, the former chair of Bard College’s Board of Trustees. This magnificent building is a tribute to his vision and leadership. The outstanding arts events that take place here would not be possible without the contributions made by the Friends of the Fisher Center. We are grateful for their support and welcome all donations. ©2011 Bard College. All rights reserved. Cover Danae and the Shower of Gold (krater detail), ca. 430 bce. Réunion des Musées Nationaux/Art Resource, NY. Inside Back Cover ©Peter Aaron ’68/Esto The Richard B. Fisher Center for the Performing Arts at Bard College Chair Jeanne Donovan Fisher President Leon Botstein Honorary Patron Martti Ahtisaari, Nobel Peace Prize laureate and former president of Finland Die Liebe der Danae (The Love of Danae) Music by Richard Strauss Libretto by Joseph Gregor, after a scenario by Hugo von Hofmannsthal Directed by Kevin Newbury American Symphony Orchestra Conducted by Leon Botstein, Music Director Set Design by Rafael Viñoly and Mimi Lien Choreography by Ken Roht Costume Design by Jessica Jahn Lighting Design by D. -
Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera. -
COC162145 365 Strategicplan
A VISION FOR THE NEXT FIVE YEARS COC365 EXECUTIVE SUMMARY EXECUTIVE PLANNING COMMITTEE Alexander Neef General Director Rob Lamb Managing Director In October 2014, a project was initiated by General Director Alfred Caron Alexander Neef to develop a management-driven strategic plan Director, Four Seasons Centre for the Performing Arts Lindy Cowan, CPA, CA Director of Finance and Administration to guide the Canadian Opera Company for the next five years. Christie Darville Chief Advancement Officer Steve Kelley Chief Communications Officer The COC’s executive leadership team, in governance oversight and input throughout Peter Lamb Director of Production collaboration with a management consultant, the process. Additionally, the process was Roberto Mauro Director of Music and Artistic Administration developed an overarching vision and mission informed by two Board retreats, individual for the company, as well as a basic plan for meetings with all senior managers, a The COC recognizes the invaluable input and contributions to the strategic planning process of implementation and accountability. The management retreat, as well as consultations its Board of Directors under the chairmanship of then-Chair Mr. Tony Arrell, the Canadian Opera 2014/2015 COC Board of Directors provided with a number of external COC stakeholders. Foundation Board of Directors, as well as all members of COC senior management. STAGES OF EXECUTION COC365 ABOUT US • The Canadian Opera Company is the largest • Created the COC Ensemble Studio in 1980, SHARING CONSULTATION REALIZATION producer of opera in Canada, and one of the one of the world’s premier training programs THE PLAN AND INTERNALLY AND INTERNALLY FEEDBACK EXTERNALLY five largest in North America. -
Press Information Eno 2013/14 Season
PRESS INFORMATION ENO 2013/14 SEASON 1 #ENGLISHENO1314 NATIONAL OPERA Press Information 2013/4 CONTENTS Autumn 2013 4 FIDELIO Beethoven 6 DIE FLEDERMAUS Strauss 8 MADAM BUtteRFLY Puccini 10 THE MAGIC FLUte Mozart 12 SATYAGRAHA Glass Spring 2014 14 PeteR GRIMES Britten 18 RIGOLetto Verdi 20 RoDELINDA Handel 22 POWDER HeR FAce Adès Summer 2014 24 THEBANS Anderson 26 COSI FAN TUtte Mozart 28 BenvenUTO CELLINI Berlioz 30 THE PEARL FISHERS Bizet 32 RIveR OF FUNDAMent Barney & Bepler ENGLISH NATIONAL OPERA Press Information 2013/4 3 FIDELIO NEW PRODUCTION BEETHoven (1770–1827) Opens: 25 September 2013 (7 performances) One of the most sought-after opera and theatre directors of his generation, Calixto Bieito returns to ENO to direct a new production of Beethoven’s only opera, Fidelio. Bieito’s continued association with the company shows ENO’s commitment to highly theatrical and new interpretations of core repertoire. Following the success of his Carmen at ENO in 2012, described by The Guardian as ‘a cogent, gripping piece of work’, Bieito’s production of Fidelio comes to the London Coliseum after its 2010 premiere in Munich. Working with designer Rebecca Ringst, Bieito presents a vast Escher-like labyrinth set, symbolising the powerfully claustrophobic nature of the opera. Edward Gardner, ENO’s highly acclaimed Music Director, 2013 Olivier Award-nominee and recipient of an OBE for services to music, conducts an outstanding cast led by Stuart Skelton singing Florestan and Emma Bell as Leonore. Since his definitive performance of Peter Grimes at ENO, Skelton is now recognised as one of the finest heldentenors of his generation, appearing at the world’s major opera houses, including the Metropolitan Opera, New York, and Opéra National de Paris. -
Filumena and the Canadian Identity a Research Into the Essence of Canadian Opera
Filumena and The Canadian Identity A Research into the Essence of Canadian Opera Alexandria Scout Parks Final thesis for the Bmus-program Icelandic Academy of the Arts Music department May 2020 Filumena and The Canadian Identity A Research into the Essence of Canadian Opera Alexandria Scout Parks Final Thesis for the Bmus-program Supervisor: Atli Ingólfsson Music Department May 2020 This thesis is a 6 ECTS final thesis for the B.Mus program. You may not copy this thesis in any way without consent from the author. Abstract In this thesis I sought to identify the essence of Canadian opera and to explore how the opera Filumena exemplifies that essence. My goal was to first establish what is unique about Canadian opera. To do this, I started by looking into the history of opera composition and performance in Canada. By tracing these two interlocking histories, I was able to gather a sense of the major bodies of work within the Canadian opera repertoire. I was, as well, able to deeper understand the evolution, and at some points, stagnation of Canadian opera by examining major contributing factors within this history. My next steps were to identify trends that arose within the history of opera composition in Canada. A closer look at many of the major works allowed me to see the similarities in terms of things such as subject matter. An important trend that I intend to explain further is the use of Canadian subject matter as the basis of the operas’ narratives. This telling of Canadian stories is one aspect unique to Canadian opera. -
Spotlight on Joel Ivany, Assistant Director
Spotlight on Joel Ivany, Assistant Director The Canadian Opera Company has hired a new assistant director to work on La Bohème. This is a prestigious BIOGRAPHY: Stage position for a young Canadian director. Joel Ivany has Director Joel Ivany trained and prepared and is ready for the challenge. He recently apprenticed spoke with us about how his life experiences have shaped under Tim Albery his work today. at the Canadian Opera Company Q: What is something from your early memories that for their acclaimed informs how you work as a director today? production of War and Peace. Directing Joel: There were four of us growing up; an older sister, credits this past summer and a younger sister and brother. I was brought up on included a new work, Sound of Music, Oliver, Mary Poppins and Babes in Knotty Together in Toyland. We’d watch them over and over and over again. Dublin, Ireland, Hänsel I think I get a lot of my ideas and theatricality from those und Gretel in Edmonton, Alberta and Haydn’s La early experiences. Canterina in Sulmona, Italy. His directing credits include such productions as: Copland’s The Tender Q: You have directed operas in Ireland and Italy for Land, Kander and Ebb’s Cabaret, Mozart’s Die different companies. Is the COC any different? More Zauberflöte and associate stage director for the exciting? More nerve wracking? University of Toronto Opera School’s production of Handel’s Ariodante. This past January he Joel: To be an assistant director at the Canadian Opera was involved in collaborating and staging three Company is definitely exciting. -
2019 EVITA Lloyd Webber & Rice the Marriage of Figaro Mozart the Manchurian Candidate Puts & Campbell Oklahoma! Rodgers & Hammerstein
seagle music colony 2019 EVITA Lloyd Webber & Rice The Marriage of Figaro Mozart The Manchurian Candidate Puts & Campbell Oklahoma! Rodgers & Hammerstein Vespers Monkey & Francine Concerts in the City of Tigers * seaglecolony.org Bringing Music to the Adirondacks Since 1915 The Beechwood Group of Wells Fargo Advisors is proud to support The Seagle Music Colony Joseph Steiniger Senior Vice President - Investment Officer CERTIFIED FINANCIAL PLANNER™ [email protected] Mary E. McDonald First Vice President - Investments [email protected] The Beechwood Group 845-483-7943 www.thebeechwoodgroup.com Investment and Insurance Products: NOT FDIC Insured NO Bank Guarantee MAY Lose Value Wells Fargo Advisors, LLC, Member SIPC, is a registered broker-dealer and a separate non-bank affiliate of Wells Fargo & Company. ©2013 Wells Fargo Advisors, LLC. All rights reserved. 1113-02329 [74127-v4] Table of Contents General Information About Seagle Music Colony Restrooms are located in the Shames Rehearsal Notes from the Directors 3 Studio. Handicapped accessible restroom Seagle Music Colony Board of Directors 4 is at the rear of the theatre lobby. Seagle Music Colony Guild 4 History of Seagle Music Colony 7 Refreshments are provided in the theatre lobby 2018-2019 Seagle Music Colony Donors 8 by the Seagle Music Colony Guild. Donor Opportunities 12 2018-19 Alumni Updates 35 So that all our patrons may enjoy the performance, please turn all cell phones and pagers The Seagle Music Colony Gala 17 to the silent or off positions. The Productions Thank you for attending today’s performance. Evita 14 Monkey & Francine in the City of Tigers 16 The Marriage of Figaro 18 The Manchurian Candidate 22 Seagle Music Colony Oklahoma! 24 999 Charley Hill Road 2019 Fall Season 26 PO Box 366 Schroon Lake, NY 12870 2019 Faculty/Staff & Emerging Artists (518) 532-7875 Faculty & Staff 27 Emerging Artists 33 seaglecolony.org [email protected] Our Mission To identify, train and develop gifted singers and to present quality opera and musical theatre performances to the public. -
PRESENTS Table of Contents
PRESENTS Table of Contents Welcome................................................................................................................. 3 Staff and Board of Directors..........................................................................6 About Pittsburgh Festival Opera.................................................................7 Cornetti’s Candid Concert and After-Party | July 10................................8 Marianne: Unstaged | July 11, 18, and 25.................................................10 Pit Crew: Singer-Free Sundays | July 12, 19, and 26..............................13 Leitmotif: Walking through Wagner | July 16..........................................17 I, Too, Sing | July 17...........................................................................................18 Composer Spotlight: Mark Adamo | July 23.............................................20 Putting it Together: Online Young Artists Program | July 24..........21 2020 OYAP Faculty........................................................................................... 26 Rusalka: A Mermaid’s Tale | July 25............................................................27 Contributions, Gifts, and Institutional Support................................. 29 Welcome from the President We need 20-20 vision to view the events of 2020. Much of what we took for granted, including the highest ever level of our economy and the lowest ever level of unemployment, suggested a bright future for the performing arts. We at Pittsburgh Festival Opera were especially -
Handel Arias
ALICE COOTE THE ENGLISH CONCERT HARRY BICKET HANDEL ARIAS HERCULES·ARIODANTE·ALCINA RADAMISTO·GIULIO CESARE IN EGITTO GEORGE FRIDERIC HANDEL A portrait attributed to Balthasar Denner (1685–1749) 2 CONTENTS TRACK LISTING page 4 ENGLISH page 5 Sung texts and translation page 10 FRANÇAIS page 16 DEUTSCH Seite 20 3 GEORGE FRIDERIC HANDEL (1685–1759) Radamisto HWV12a (1720) 1 Quando mai, spietata sorte Act 2 Scene 1 .................. [3'08] Alcina HWV34 (1735) 2 Mi lusinga il dolce affetto Act 2 Scene 3 .................... [7'45] 3 Verdi prati Act 2 Scene 12 ................................. [4'50] 4 Stà nell’Ircana Act 3 Scene 3 .............................. [6'00] Hercules HWV60 (1745) 5 There in myrtle shades reclined Act 1 Scene 2 ............. [3'55] 6 Cease, ruler of the day, to rise Act 2 Scene 6 ............... [5'35] 7 Where shall I fly? Act 3 Scene 3 ............................ [6'45] Giulio Cesare in Egitto HWV17 (1724) 8 Cara speme, questo core Act 1 Scene 8 .................... [5'55] Ariodante HWV33 (1735) 9 Con l’ali di costanza Act 1 Scene 8 ......................... [5'42] bl Scherza infida! Act 2 Scene 3 ............................. [11'41] bm Dopo notte Act 3 Scene 9 .................................. [7'15] ALICE COOTE mezzo-soprano THE ENGLISH CONCERT HARRY BICKET conductor 4 Radamisto Handel diplomatically dedicated to King George) is an ‘Since the introduction of Italian operas here our men are adaptation, probably by the Royal Academy’s cellist/house grown insensibly more and more effeminate, and whereas poet Nicola Francesco Haym, of Domenico Lalli’s L’amor they used to go from a good comedy warmed by the fire of tirannico, o Zenobia, based in turn on the play L’amour love and a good tragedy fired with the spirit of glory, they sit tyrannique by Georges de Scudéry. -
Handel Rinaldo Tuesday 13 March 2018 6.30Pm, Hall
Handel Rinaldo Tuesday 13 March 2018 6.30pm, Hall The English Concert Harry Bicket conductor/harpsichord Iestyn Davies Rinaldo Jane Archibald Armida Sasha Cooke Goffredo Joélle Harvey Almirena/Siren Luca Pisaroni Argante Jakub Józef Orli ´nski Eustazio Owen Willetts Araldo/Donna/Mago Richard Haughton Richard There will be two intervals of 20 minutes following Act 1 and Act 2 Part of Barbican Presents 2017–18 We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it with a handkerchief. Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre Welcome Tonight we welcome back Harry Bicket as delighted by the extravagant magical and The English Concert for Rinaldo, the effects as by Handel’s endlessly inventive latest instalment in their Handel opera music. And no wonder – for Rinaldo brings series. Last season we were treated to a together love, vengeance, forgiveness, spine-tingling performance of Ariodante, battle scenes and a splendid sorceress with a stellar cast led by Alice Coote.